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TEXTOTVORNÉ STRATÉGIE BLANCHOTOVHO RÉCITU „TEMNÝ TOMÁŠ“

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Forgáč M.
World Literature Studies
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2018
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vol. 10
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issue 2
51 – 68
EN
Maurice Blanchot’s récit “Thomas the Obscure” has been traditionally interpreted within the context formed by his essays and philosophical works. The underlying interpretive concept of the study, however, calls this interpretive practice into question and argues for the autonomous nature of a récit. Although Blanchot does not change the scope and the topic of his essays and récits, his récit in this case differs from the intention of his essays in terms of a shift in perspective, from which particularly the agony of denoted objects is viewed and depicted. The analysis of text structures employed in “Thomas the Obscure” indicate how the poetics of microscopy was revitalized in Blanchot’s récit. It turns the récit into a specific form of prose, all levels of which represent the indefiniteness, enigmaticality and invisibility of the depicted by various strategies of identification – protocol language, description of details, and concentration of scenes, summarization as well as formal devices and tropics.
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MEDZI POETIKOU TEXTU A POETIKOU UDALOSTI: K NIEKTORÝM ONTOLOGICKÝM OTÁZKAM EPICKEJ REPREZENTÁCIE

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Prušková Z.
Slovenská literatúra (Slovak Literature)
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2022
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vol. 69
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issue 4
327 – 342
EN
Research of arts and literature had moved from a striving for exact, structuralist handlings of its objects to observations of the world as mediated and experienced by humans. Research in aesthetics and literary studies not embedded in structuralism is often interdisciplinary in its nature and draws on a host of inspirations (anthropology, epistemology of imaginative processes, ontological transformations of existential meanings, etc.). The creative process and its product – the literary text – can be handled from various viewpoints. Traditionally, literary studies approached the text in terms of its structure, aesthetics, and poetics. Such observations do offer a systematic way in which the functioning and form of the literary work can be described; however, they are much less capable of grasping the ontological sources and origins of aesthetic experience. The latter are inherent to the engagement with an aesthetic object and as such need to be taken into account in the creation of knowledge and value of the literary work. Respecting the psychological subject of the writer and of communicative configurations of the literary text is crucial in this context. The article looks under the surface of textual structures and concentrates on imaginative processes in connection to the reception intention of the literary work.
3

The versification of reportage

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Sadowski W.
Teksty Drugie (Second Texts)
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2005
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issue 5(95)
82-101
EN
This article discusses the phenomenon of imitating by 20th-century reportage prose of the historically diverse varieties of the so-called non-numerical verse (Mediaeval asyllabic verse and contemporary graphical text). The author argues that prose and non-numerical verse constitute not only mutually opposite forms of textual organisation but also, as it were, two voices (understood in formal mimesis categories) between which a broad scale of imitative options emerges. In this way, he explains the phenomenon of analogy between the structure of line and the structure of sentence, as described in metrics/prosody studies. The main part of this article presents quotations from the output of R. Kapuscinski, H. Krall, S. Szmaglewska, and M. Wankowicz, each containing short, one-sentence, paragraphs, which enables to compare the two units, i.e. line and paragraph. This comparison indicates that certain phenomena hitherto approached as typically versification-related ones, such as obligatory pause, intersemiotic equivalence, or even enjambement (with respect to a certain melodic form), all appear in prose as well, and it is prose, in fact, that is their mother area out of which they at times tend to be transferred into the domain of verse. In its final section, the article refers to declamation models related to prose, highlighting their role in the shaping of the presently binding method of giving so-called free verse and of overcoming its relation with recorded and graphically organised text, a relation proving stronger than for numerical verse.
4
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CESTY ZA ZTRACENOU JEDNOTOU. PŘÍSPĚVEK K AUTORSKÉ POETICE MICHALA AJVAZE

100%
Gilk E.
World Literature Studies
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2016
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vol. 8
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issue 2
76 – 88
EN
The study deals with the poetics of all the prose fiction written by Michal Ajvaz (born 1949), who among contemporary Czech authors shows the greatest affinity towards magical realism, and, what is more, has even commented repeatedly on the connection between his works and this genre. We consider the metaphor of the “other city”, which we borrowed from the title of his best-known novel, to be the key to the interpretation of the ideological framework of his texts. Having been obviously inspired by phenomenology, Ajvaz, in his work, draws attention to the over-accustomed and indolent ways in which people perceive reality that has been reduced to a perspective from which one can see very little. Modified in various forms, Ajvaz’s stories ask the readers to start a journey towards the other, the different, and unknown, hereby emancipating themselves from the slavishly accepted schemes of acting and behaving prearranged by the European Cartesian tradition. However, the journey towards admitting the “other world” alone could be a challenging pilgrimage which is itself meaningful and does not follow any particular aim.
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K NEPRÍTOMNOSTI OTCA V TVORBE VERONIKY ŠIKULOVEJ

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Majerčáková M.
Motus in verbo: časopis mladej vedeckej generácie
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2014
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vol. 3
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issue 1
57 – 63
EN
On the basis of analysis and interpretation of Veronika Šikulová’s prosaic authorship, the attention in the study is concentrated on the motif of absence of the father. Šikulová works with this motif in original way (in sequence to her former authorship). We can see some steady features in her author’s handwriting through the depicting of this motif. From these features, the most frequent are sensual perception of the reality and the using of the imagery (conspicuous symbolism) of the tongue. Sovereignty of the person of father in Šikulová’s texts is manifesting also because of the consistent work of the author with the literary space. The study primary comes out mainly from the titles Domček jedným ťahom (2009) and Miesta v sieti (2011), but she also takes into consideration author’s works Odtiene (1997), Z obloka (1999), Mesačná dúha (2002) and Diera do svetra (2012). Secondary, the study is grounded on the literary theoretical publication of Stanislav Rakús called Poetika prozaického textu (1995).
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HUDOBNOSŤ V AUTORSKEJ POETIKE KAMILA ŽIŠKU

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Ballay M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 1
96 – 107
EN
In his paper, the author deals with some selected aspects of musicality in the directorial poetics of Kamil Žiška. Primarily, he focuses on models and transposition of musical expression, its extension to other components of stage synthesis. The intention of this paper is to grasp functionally possible functioning of the author's mind, directorial methods and specific aesthetics of theatre.
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DVE VERZIE BÁSNE J. ONDRUŠA KLOBÚK VÍNA (ČASOPISECKÁ A KNIŽNE DEBUTOVÁ) AKO PRIESEČNÍK POETÍK

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Matejov F.
Slovenská literatúra (Slovak Literature)
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2019
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vol. 66
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issue 2
129 – 139
EN
By comparing two versions of Ján Ondruš´s poem A Hat of Wine and critically reading the version in his debut book, the paper arrives at the characteristic of the selected piece of writing, which is an intersection of different types of poetics relevant for interpretation of Slovak poetry written in the 1960s in general: sadness, or Baudelairesque „spleen“ and its projection into physical base being lived, a rural genre featuring characteristic details, expressivization and metaphorization of physical gestures, excessiveness of the mental state of the poetic „self“ also suggested through the magic of lunatism, employing surrealist imagery, the author´s individual poetics of fatal returnability and repetitiveness, text enigmatization as a result of abridging the text, the archetypal lyric „nox et solitudo“ situation. At the end of the paper the question that arises is what results from these findings and what it means for the impression of Ján Ondruš´s poetic writing in terms of semantics and values.
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THE DYNAMICS OF GENRE IN VASILY ROZANOV'S WORKS [Dynamika zanru v tvorbe Vasilije Rozanova]

100%
Nykl H.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue 1
54-62
EN
In his works 'Solitaria', 'Fallen Leaves' and 'The Apocalypse of our times', Russian thinker and publicist Vasily Rozanov created a remarkable type of text which, for its radically innovative nature, was marked as a new genre by V. Shklovsky. The study deals with the evolution of this 'genre' in Rozanov's works and identifies its three phases. In his early works ( ponimanii, Dostoevsky and the Legend of the Grand Inquisitor), Rozanov was trying to write classical discursive texts. At the turn of the 19th century, he started editing dictionaries (Sumerki prosveshchenia, semeinyi vopros v Rosii, Metafizika khristianstva and others) which attain characteristics of a specific genre. From this perspective, the genre of 'Solitaria' represents the culminating phase of the evolution of this literary form. The dynamics of the genre of 'Solitaria' is not exhausted; the study summarizes the results of the leading researchers in this field, from which follows that other changes occurred in the genre itself. The poetics of Rozanov's works grew by its own dynamics to the personalisation of the synthetic efforts of the Russian post-symbolism.
9

„PRASKANIE OBRAZU“ ALEBO POETIKA TRHLÍN (NA PRÍKLADE FESTIVÍT SUBKULTÚRNEJ PREZENCIE)

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Bílik R.
Slovenská literatúra (Slovak Literature)
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2019
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vol. 66
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issue 2
68 – 87
EN
The paper consists of two parts. In the first one the author focuses on obtaining methodological tools, which make it possible to oppose the rationalist modernist construct of history as „inevitable evolution“, where an individual human and his or her living uniqueness, the concept aimed at revealing and emphasizing living uniqueness of existence dissolve. What becomes the tool for the author is the „principle of authenticity“ formulated by Alessandro Ferrara and the effort to develop the „project of modernism“, which is presented by Miroslav Petříček. By employing the methodological apparatus, the other part of the paper is aimed at identifying poetics of presence (as modality of event poetics), which was used to „show“ activities of subcultures in the space of Czechoslovak culture after year 1948.
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POETIKA KONTROLY (MEDZI POETIKOU TEXTU A POETIKOU UDALOSTI)

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Bílik R.
Slovenská literatúra (Slovak Literature)
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2019
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vol. 66
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issue 4
285 – 299
EN
The fundamental question the author of the study focuses on is related to the problem of individualisation as a vital mechanism of control in terms of the construct of the collectivistically based society. In the totalitarian society, the control as an instrument of power is based on the radical reduction of the “movement of existence”, that leads towards the construct of “useful man” and introduces him mainly in his social function. In this context, the study analyses and takes notice of the related discursive instruments and genres (poetics of control), while making use of Michel Foucault’s concept of disciplinary writing as a methodological instrument.
11

On poetics, literary theory, and interpretation: once again

100%
Markiewicz H.
Teksty Drugie (Second Texts)
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2007
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issue 4(106)
153-164
EN
Basing upon the Anna Burzynska's book 'Anty-teoria literatury' (Anti-theory of literature), Cracow, 2006, the author discusses propositions and/or suggestions (pro)posed by post-modern thought against literary studies. Or, more strictly speaking: what should a literary scholar do, in case s/he would try to 'make post-modern' (so to speak) his/her earlier-established views in three areas: poetics, literary theory, and, interpretation? One may sense that the theory interpretation, having been through a long journey through the stormy fluctuations of post-modernity, is now stealthily resuming a solid ground that has been disparaged until recently. This is, namely, a philological-hermeneutic ground, softened to a slight extent by intensified attentiveness toward whatever may be non-systemic or inconsistent in a given text.
12
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Fragmentární poetika pozdního Halase

100%
Komenda P.
Česká literatura (Czech Literature)
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2009
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vol. 57
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issue 2
151-171
EN
This article is a work of textual criticism focusing on the fragmentary style of Frantisek Halas's (1901-1949) late verse. The focus is on Halas's canonical texts and also on sketches, fragments, and notes, which have tended to be of marginal interest to the reader. The author asks whether these fragments and projects (for instance 'Potopa' and 'Hlad') are merely peripheral to Halas's oeuvre, or whether they actually contain substantial information about his late style, which could help us to understand his way of generating texts other than what we know from his works between the wars. Linked to this is a question of textual criticism, the 'act of publishing', by which we distinguish causal and intentional aspects in the process of textualization and also distinguish the psychophysical subject from the subject of the work. In certain circumstances fragments, sketches, and variants cross the boundary from the genetic (causal) to generative (intentional) order in the act of textualization, and thereby begin to share in the formation of the semiotic construct of the 'persona'. In the course of textualization, the poet usually endeavours to achieve the resulting invariant, that is, the most perfect possible form of the text, which eventually shifts all the preceding creative variants aside as inferior. Only the resulting form of the poem is intended for publication. Whereas the generation of texts in Halas's interwar period still took place according to this model, in the course of the 1940s the situation radically changed. Using montage and especially collage and also syntactical fragmentation, the emphasis on metonymy and also intertextual relations, Halas managed to include fragments in the creative process. Formal aspects of the fragments, however, are also incorporated in the central compositions of the collection A co? (So what?, 1957) - for example, the texts 'Citaty' (Quotations), 'Dolores', 'Az bomba praskne' (When the Bomb Bursts), 'Prejme jim to' (Let's Grant Them That), and 'A co basnik' (And What the Poet). The means of generating the late texts is therefore closely linked also to the late fragments, which Halas jotted down in notepads. In this last period of his work Halas's attention gradually shifted from the act of publishing to the creative process itself. The act of publishing lost the features of the original devotion, because he found it much more important 'to write himself', regardless of the results.
13

VÝCHODISKÁ POETIKY REKONFIGURÁCIE V EXISTENCIÁLNOM DISKURZE SLOVENSKEJ LITERATÚRY PO ROKU 1945

100%
Domorák D.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 3
192 – 200
EN
The goal of the paper is to outline a brief literary historical overview of the development of the existential discourse in the domestic context from the 1940s until now. The given overview is supposed to be one of the assumptions of theoretical reflection on the poetics of reconfiguration (existentially oriented production). The research was mainly focused on the literary and historical reflection on individual periods of time which featured discussions about existential elements in literature, while the discussions were interpreted with regard to the current state of the subject matter. It turned out that while the 1940s saw configuration of a certain form of existential discourse which became a standard functioning in a manifested way until today, from the start of configuring there were at the same time other latent contents exceeding the frameworks of the classic way of processing the subject. These did not begin to be formed explicitly until the 1960s. Due to the constraints caused by the period of time, the reconfiguration of existential discourse was not significantly affected. Apparent efforts to reassess the approach to the subject that is supposed to take care of the reconfiguration of existential discourse corresponding to the achieved level of contemporary knowledge were not made until the 2000s. At the same time it becomes clear that the process of reconfiguration is not easy because it gets into conflict with classic configuration, which has a standardized form in today´s existential discourse.
14

Poetics in the world of digital domains

100%
Szczesna E.
Teksty Drugie (Second Texts)
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2006
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issue 4(100)
219-238
EN
By creating new ways in which a text functions, and new textual genres and forms, digital technologies make poetics describe them, provide some tools with which to investigate them, indicate shifts and re-interpretations to be found in the way the text functions, and, set the directions of text's development. The basic discriminant of digital texts is their interactive nature. Related with it are a new sending-receiving situation and a modified text authorship category (exchangeability and accumulation of sender-receiver roles, the category of user, anonymous authorship, several authors). The presence of hypertextual links causes that a text can be read not only linearly but also, 'deeper down into it', simulating a three-dimensionality of a virtual text.. Poly-semioticality and striving for a maximum simplification of the communication process favour phenomena such as: verbalisation of image, iconisation of word, or, creating inter-semiotic figures.
15

KAŽDODENNOSŤ, SNÍVANIE, HRA A REALIZMUS (K POETIKE KUKUČÍNOVEJ NOVELY NEPREBUDENÝ)

88%
Bílik R.
Slovenská literatúra (Slovak Literature)
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2023
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vol. 70
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issue 3
229 – 243
EN
The article takes a poetological approach to the thematising of everyday life and its connections with the poetics of the “effect of the real.” Methodologically, it is part of the research concept of the new poetics. On the material of a canonical text of Slovak literary realism – the novella “Neprebudený” ([The unawakened] 1886) by Martin Kukučín (1860 – 1928) –, it identifies poetological characteristics of the novella, reveals its existential parameters, and points to the place of M. Kukučín in the ironic-polemical line of modern Slovak prose. This innovative approach allows for identification in the structure of the text the tradition of the poetics of grotesque realism as conceptualised by M. M. Bakhtin on the folk culture of the Middle Ages and the literature of the European Renaissance. The identification of elements of the poetics of the grotesque in the text of the novella is based on the emphasis of this poetics on the shape/surface of the phenomena of the life world, especially the human body. Therefore, the starting point of the interpretation of the novella as outlined here is description as the basic stylistic procedure of realistic texts – the description of the character in this case. The description and subsequent interpretation of the image of the grotesque body makes it possible to identify the presence of the poetics of discrete irony as a key strategy of authorial narration in the text of the novella.
16

K ASPEKTOM POETIKY KĽÚČOVÉHO TEXTU 60. ROKOV – ŠIALENÝ MESIAC J. ONDRUŠA

88%
Matejov F.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 3
208 – 227
EN
The subject of the paper is Šialený mesiac /The Mad Moon/ by J. Ondruš as a key poetic text of Slovak lyric written in the 1960s – placing the accent on the aspects of his poetics and the ways of identifying them. The paper evolves in several steps. 1. It takes notice of the updates of surreal inspirations namely in the 1960s. 2. It confronts the versions of the poem published in a magazine and in his book debut. It takes notice of certain corrections of eccentricity of the subject-character. 3. It presents an attempt at mythological and philosophical, and intertextual placing of the lunar and lunatic motifs with regard to The Mad Moon. 4. It shows (in reference to P. Ricoeur) the progression of „stain“, „mistake“ and „guilt“ as the indices of fatal human deficiency. 5. The actual critical reading of the poem follows the oscillation between the factual physical everyday dimension of the course of events, and the emphatic, „lunatically“ excessive one,: the „mad moon“ as a cipher of human and poetic existence, as a cipher of poetry itself, its magic power and deficiency.
17

The narratology of memory. The case of Stanislaw Vincenz

88%
Kaczmarek M.
Teksty Drugie (Second Texts)
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2006
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issue 5(101)
171-184
EN
This article discusses the issues of narratology of memory in Stanislaw Vincenz's novel-cycle 'Na wysokiej poloninie', which, along with genology, rhetoric and other related issues, forms part of Vincenz's multi-aspect mnemology. The way the narrator is structured and the narrative structures appearing are viewed in terms of the memory category which fulfils certain determined functions therein. The several narrative subjects (the author/narrator and the characters acting as narrators) allows one to speak of a common universal category of narrator as a 'poviastun' (story-teller), i.e. a person with a certain memory at his or her disposal, performing acts of recollection/story-telling (or, recollection/poviastun-ing). The numerous memory narrations present in the Vincenz text imply multi-optional memory-based narrative strategies, being contemplated in the essay. In a mnemonological perspective, the poviastun becomes a narrative subject with his/her own 'mnemic experience'; story-telling/poviastun-ing becomes identified with narrative acts of recollecting, whereas the story (or, the 'tidings') assumes the form of a mnemic text being proper with prose of memory.
18

TRI POZNÁMKY K POETIKE PRÍPRAVY TEXTU

88%
Kazalarska Z.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 3
201 – 207
EN
The paper follows the current boom of using the term poetics in the humanities and gives examples mainly from the German context. With regard to this poetic turn, the author goes on to deal with new uses of the term in literary science, which are mainly related to the instrumental and technical, as well as physical and gestic aspects of literary production and their summary into a traditional set of poetic issues. The paper builds on poetic synergy of the „scenes“ of writing (R. Campe) during literary production and, in conclusion, it deals with the scenes of autobiographical writing in the literatures of Central and Eastern Europe. The concept of „poetics of preparation“ is suggested in order to characterize literary works which are oriented at aesthetic and poetic dimensions of manuscripts. In the author´s opinion, distinct poetics can be typically found, for instance, in small forms of the note-taking style of writing, which dominates in the field of unedited literature of the 1970s and the 1980s.
19

MÝTUS O HUSITSKO-EVANJELICKEJ KONTINUITE

88%
Braxatoris M.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
|
issue 4
369 – 394
EN
The article focuses on the structure and functions of the myth of the Hussite origin of (a part of) Slovak protestants. The narrative, based on claims of late Middle Ages historians, started gaining momentum in the 18th century and fully developed in the 19th century literary production (especially in the works of Pavol Jozef Šafárik, Samuel Tomášik, several representatives of Romanticism and, later, in the writing of Ladislav Pauliny and Július Botto). During the 19th and first half of the 20th centuries, its elements were dismantled on historical, linguistic, architectural and liturgical grounds. Those who contributed to the deconstruction of the myth included František Palacký, Jan Koula, Emil Edgar-Kratochvíl, Pavol Križko or Jozef Škultéty. The work of Branislav Varsik marked a significant break in the dismantling of the fictitious origins of Slovak protestant community. Once the mythological character of the narrative was revealed, it became accessible to analysis from the point of view of mythology, poetics and rituals. Its structure contains such features as separation phase, mythical trials, death, revival and gaining the prize – mythical wedding and settling in the “promised” land. The narrative help form and maintain a new collective identity: it is invested with explanatory and consecrating functions and serves as a legitimising argument for the identity, religious rituals and cultural customs of the protestant community.
20

POETIKA EXISTENCIE (METODOLOGICKO-INTERPRETAČNÁ ŠTÚDIA)

88%
Bílik R.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 3
175 – 191
EN
The paper consists of two parts. In the first part the author focuses on the possibility to use the impulses of philosophical phenomenology, especially the part that reflects on the issues of existence and identity as a methodological tool designed for literary theoretical reflection. The core of the reflection in question is an effort to show the interconnection between literature as the image of the world in writing and a man’s life situation in the actual „lived life“. In this respect the author considers literary works as the „expressions of life“ - symbolic forms, which are a version of „revealing“ the motion of existence. The other part of the paper is a poetics-oriented interpretational reading of a novel written by Janko Silan titled Dom opustenosti /The House of Loneliness/ and it is in relation with the first part as an attempt at verifying the theoretical principles of the „hermeneutics of existence“ in the practice of the hermeneutics of a literary text.
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